rolling back to the future garage/post-dubstep/alt-funkstep/intelli-2step etc thread

S

SecondLine

Well-known member
That interview is a disappointment, getting those three together on record has been long overdue and they basically aren't given a chance to settle into it.

Jackmaster's comment about not dancing any more is really on point though I think. It feels like the more absorbed you become in a scene, the more people you know etc., and the more 'professional' your approach to it, the harder it is to tap into that original excitement (and this coming from somebody who's barely scratched the surface obviously). Is this just a catch 22 inherent in being a 'producer' rather than just a 'consumer' of any music? Pretty depressing if so.
 
R

rrrivero

Well-known member
I think this could have made for a pretty interesting hourly podcast or so, that interview is obviously way too short.
 
P

PadaEtc

Emperor Penguin
i thought Ben UFO and especially Jackmaster had some good points - although it was way too short and the bit about what clothes they had on was absurd.

When reading these kind of interviews I usually just skim read the questions - I never really notice if the questions where good or not hahaa!

I would much prefer a feature style interview than just a list of questions and answers I think.
 
Last edited:
G

gumdrops

Well-known member
So the dancefloor is a really important place. It’s somewhere where you can lose all of that and really focus on hearing the music. That’s why I get frustrated when people demand IDs and tracklists. Because, in my head, that shouldn’t matter.
Click to expand...

as zinc (i think) said, one mans tracklist is another mans shopping list.
 
cobretti

cobretti

[-] :: [-] ~ [-] :: [-]
The IDs/tracklists comment is kind of ridiculous though isn't it, who cares if someone wants to buy the music you're playing? I can see the point with not providing whole tracklists for mixes because A) it can be time consuming to provide details for all the tracks in a 30-120 min mix, and B) it can shade people's perceptions of a mix before they download it, or put them off of downloading it altogether, but I cannot see the harm in anyone asking for an ID on a track. Surely if you're recording mixes and putting them out, putting on clubs or taking cash to play gigs then at some level you're playing music for other people's enjoyment. Are they only allowed to enjoy the music you play within a context that you define? If I hear something I like then I want to be able to track it down and enjoy it at my own convenience too, not have it confined to some boys club of elite owners.
 
R

rrrivero

Well-known member
I think what he meant was people coming up in a club during a song asking what it is instead of just enjoying it, in other words I think, and I'm not sure about this, that his gripe with this is that some people seem more geared towards owning a tune than enjoying it with a bunch of others in the context that its introduced to them.
 
G

gumdrops

Well-known member
but isnt just that the type of crowds these guys play for? and i cant imagine its everyone doing that, just a certain geeky dj type, which no doubt, is what they used to be like too. if they were playing great big warehouses then im sure it would be like the raves of the early 90s, but were not in that era anymore. if thats what they want then they should pull their fingers out and start organising some informal raves. but maybe its just that people dont dance as freely as they used to in clubs, im not sure. last few times ive been fwd (granted i dont go every week or anything) people have been dancing. but fwd is prob not a good club to use to gauge how these guys are generally received.
 
F

FairiesWearBoots

Well-known member
I think Oneman meant the term 'UK House' never had a chance, not the music.

I agree that sometimes if you follow this music, that sometimes your quest for knowledge could impede your enjoyment of it, say in a club situation

I used to watch the legions of trainspotters at blue note & metalheadz nights - it was a SERIOUS business, :D - they never looked like they were enjoying themselves

remember to dance, innit
 
G

gumdrops

Well-known member
i think its ok for trainspotters and dancers to share the same space. they need somewhere to go too. trainspotters of today maybe the onemans of tomorrow. also, i dont necess think you have to be a dancer yourself to 'get' dance music, or know what would make others dance (though being in clubs where you see ppl react is something you do need to do).
 
R

rrrivero

Well-known member
if they were playing great big warehouses then im sure it would be like the raves of the early 90s, but were not in that era anymore. if thats what they want then they should pull their fingers out and start organising some informal raves.
Click to expand...
This would be great, but how many people could they round up unless everybody knew it was oneman/jackmaster/ben ufo playing for all to see? I don't mean this as a rhetorical question, I genuinely don't have a clue. We do the odd warehouse rave round here, but even those are about bringing in the big names, all advertised to shreds via facebook and other mediums.
i think its ok for trainspotters and dancers to share the same space. they need somewhere to go too.
Click to expand...
Definitely, I guess it just becomes frustrating when most people are trainspotters.
 
S

SecondLine

Well-known member
In his defence, Ben slightly backs down from his comment about trainspotters when pushed...

And that’s the reason I play music—because I ask those questions, too.
Click to expand...

Arguably this scene, and the tendency for DJs to dig things out of the archives, mix old and new etc., is a honeypot for trainspotter types - I'm sure it's been complained on here before about how it's a very geeky, studenty crowd who go to these kind of nights. I guess the DJs can't really help that though.
 
Sectionfive

Sectionfive

bandwagon house
I guess it has something to do with the fact that I DJ myself and so my mind can go from just enjoying a track to thinking about how to use it.
Click to expand...

I might come home with one ID a night, even its just down the pub or coming home in the back of taxi. Same with ads on TV or or passing cars. I'm always switched on in that way and my phone is full notes and ids. Never stops me from enjoying any of it though and I tend not to bother DJs in club as much I used to when I was younger. You can find most of them online now the next day and most of them are friendly enough to ID a track or two.

JR: There’s something I think that’s quite dangerous about that situation. How, even before a track’s released, it’s considered old.

SB: Plus with things like YouTube, people ripping something out of a radio set and uploading it. Nothing disappears.
Click to expand...

This kinda goes both ways. I only upload 'lost' stuff as opposed to something that was just played tonight. Sometime stuff is on youtube for ages first but it does build hype ( remember when everyone was playing 'Untrue' of boomkat while they where waiting) Tunes getting rinsed makes them old a lot quicker in my eyes, I didn't buy IRL, Footcrab, or Work them for a finish because everyone was playing them and nearly in that order too.


I don't you need to dance to 'get' dance music but I think you should have at least have done fair amount of it at some point. Least then you 'get' dancing in club and why be selfconscious about dancing if your willing to stand up and DJ.
 
G

gumdrops

Well-known member
yeah exactly. the ppl making it and listening to it are a bit nerdy (not saying that as a slight, i mean im on dissensus lol) so what dyou expect. if they dont like it then you do what bambaata and them used to do - wipe the labels off, or cover them up so ppl cant see. not that hard really. or just dont tell them. plus arent these guys all using cds or serato? just tell clubbers the wwrong names lol.
 
R

rrrivero

Well-known member
Sectionfive said:
This kinda goes both ways. I only upload 'lost' stuff as opposed to something that was just played tonight. Sometime stuff is on youtube for ages first but it does build hype ( remember when everyone was playing 'Untrue' of boomkat while they where waiting) Tunes getting rinsed makes them old a lot quicker in my eyes, I didn't buy IRL, Footcrab, or Work them for a finish because everyone was playing them and nearly in that order too.
Click to expand...
I wonder how common this is. I sometimes get really excited about a tune, and I want to share it with a bunch of guys who wouldn't bother listening to mixes otherwise, so I rip it and upload it. I always make a point to leave a ton of information on how to contact the producers, support them etc in hopes of creating more hype/revenue for them, and nobody's ever asked me to take down a youtube video, but maybe I should? To add to your example, I didn't end up buying any boddikas, because I was fed up with him by the time he hit the shelves, but then again I did get Lil Silva's Patience EP even though I got to listen to it over and over again on soundcloud, and I'll definitely get the Champion/Ruby Lee collab despite having listened to it for at least a hundred times by now. I guess there are other factors at play here, like dedication to the scene and dare I say it, quality of the tune.
 
Last edited:
P

Phaedo

Well-known member
There's plenty of records that I have bought which were rinsed at the time when I got them. But now I'm glad I got them because they represent that moment in time. I was contemplating the other day whether I would buy Sicko Cell when its released, I think I might for this reason.
 
Corpsey

Corpsey

bandz ahoy
Dance music was definitely a lot more fun when I just saw it as something to take pills to.

I like the idea that its the DJs/producers who enjoy it the least :D

Even my cursory acquaintance with production has ruined music a little bit for me. See also: personally knowing DJs/producers (no slight upon their personalities, I just liked thinking music was somehow magical back in the day and discovering that DJs are just normal people is like watching Santa pick his nose and eat it).

I always feel ambiguous about this because my nerdiness has led me to discover a lot of music I would never have heard otherwise... and besides, when it comes down to it, I still have a lot of fun listening to and dancing to music, whenever I'm not thinking about it too much.

This is ground already covered on this thread, but I do find the idea that the internet has had an alienating effect on listeners quite persuasive (even though I've met a lot of music-heads/DJs through the internet)... Though I have had many musical epiphanies on my own, I tend to find the happiest times connected with music (particularly dance music) took place in rooms filled with people all mutually enjoying their mutual enjoyment of music and smiling at each other.

Problem with thinking/writing about music (ditto producing) is that you become obsessed with the technical aspects of music... the 'how' of the effect rather than the effect itself. This leads to genre obsession and so on. I dunno if it was in this thread I talked about this - the application of linguistic/rational categories to something that is experienced sensuously/emotionally.

Urghhh... tangential rant with no point.
 
U

UFO over easy

online mahjong
secondline said:
In his defence, Ben slightly backs down from his comment about trainspotters when pushed...
Click to expand...

the thing about ids and context was a response to a question asking whether or not we were horrible enough to consider ourselves 'teachers'

you've interviewed me before, you know i just spent hours turning things over in my head without saying anything definite - i don't know how ali managed to salvage a coherent answer out of what i said but she managed it
 
Last edited:
You must log in or register to reply here.
Top